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c.1885 French Giant Engraved Gilt-Bronze Paneled Carriage Clock On Original Base, Drocourt, 11,856.
A very rare late-nineteenth century French engraved porcelain carriage clock by Drocourt with the original engraved base. The gilt-bonze gorge case has extremely well executed floral and geometric engraving on both smooth and chased grounds, a beveled oval glass above to view the balance platform, a hinged handle and porcelain panels to the front and sides. The outstanding polychrome panels depict couples in the various pursuits of courting and are framed with blue borders adorned with tooled gilt floral decoration. It stands on the original engraved gilt-bronze base that has identical engraving and four wonderfully cast and finished winged dragons at the corners.
The front porcelain panel depicts a courting scene below with the alarm dial in the center and incorporates the hours dial above with well lettered black Roman numerals for the hours set within a black and gilt minute chapter that has a floral trophy at the center and two well finished steel cut hands that are very reminiscent of English work.
The large and robust eight-day time, strike, alarm and hour repeat movement retains its original balance platform with a bi-metallic screwed balance wheel, Geneva stops on both trains, is wound and set out the back, is stamped with the maker's mark and serial number, "11,856" and strikes on a gong. The dial plate is also engraved by the maker, "Drocourt, carriage clockmaker, 8 Rue Debelleyme 28, Paris" and the frontplate is stamped "HL".
Although we've had several Drocourt carriage clocks with the original stands, this is the only giant engraved porcelain carriage clock we've seen with the original matching base.
Ref: For a more detailed description of Drocourt see Carriage Clocks by Charles Alix, pg.438.
Height - Clock: 8.25in. (handle down)
Base: 7.75in. wide, 6.75in. deep
Overall Height - 12in. (handle up)
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c.1890 French Lacquered Mystery Turtle Clock.
A late 19th century mystery turtle clock with a silvered tray and lacquered case
SOLD
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c.1875 French Marble and Gilt-Bronze Perpetual Calendar Clock, J.B.Delletrez.
A very nice quality late Victorian gilt-bronze and white marble double dial perpetual calendar clock by Jean-Baptise Delettrez. The gilt-bronze framed case has nicely fitted doors front and back, four thick beveled glasses and shaped and a molded white marble top and base. The friction fit swing-out doors lack the usual knobs and instead have slits along the edge for purchase.
The time and calendar movements are mounted vertically between the front posts. The eight-day time and strike clock movement sits above and has shaped plates, a Brocot suspension, is stamped on the backplate by the retailer, 'J.Silvani, 13-14 Kings Road, Brighton' and has 'Delettrez, Rue Charlot, Paris' stamped on the falseplate and '19446' on both the backplate and mounting plate. It has a deadbeat escapement with jeweled adjustable pallets mounted to the dial. The Elicott style pendulum has a porcelain insert and is stamped with the makers initials in an oval on the back, 'JBD'.
The perpetual calendar movement is mounted below the clock movement, is set and adjusted off the back, is advanced by linkage from the clockworks and is stamped on both the backplate and the mounting plate '19447'.
The time dial has several gilt-bronze bezels, a large second's chapter with Arabic numbers for the ten-seconds marks, a thin sweep steel-cut center seconds hand, a sunken porcelain center that carries the escapement and a smaller circular hours dial with Roman numerals for the hours and Breguet style steel-cut hands. Above the time dial is the square-cut arbor for the fast/slow and below is the arbor to adjust the hands.
The calendar dial has a large porcelain chapter ring that shows the months and equation of time and a sunken center that shows day, date and has an aperture for phases of the moon set within a polychrome night sky. There are four steel-cut indicator hands, one with a gilt-bronze sun.
The two dials are framed by an elaborately engraved gilt-bronze mask.
The clock still retains the original numbered key.
Ref: Jean-Baptiste Delettrez (1816-1887) went into business with A. Brocot in 1851 at 62 Rue Charlot in Paris and exhibited together at the 1857 Universal Exhibition. By the exhibition of 1878 he was exhibiting clocks and bronzes alone.
Height - 16.5in.
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c.1890 Gilt-Bronze Grand-Sonnerie with Alarm Carriage Clock, Drocourt, 17704.
A very nice late-victorian gilt-bronze carriage clock signed by both the movement maker, Drocourt, and the retailer, Theodore Starr. The stylized case has exaggerated chamfered corners with fluted columns and Doric capitals, a molded top and bottom, a fluted handle and beveled glasses to five sides with the top viewing glass etched with the initials 'EJW'.
The well-lettered white porcelain dial has Roman numerals for the hours, Arabic numbers for the five-minute marks, steel-cut hands, is signed by the retailer, 'Theodore B. Starr, New York' and has three subsidiary dials that show the date, day and alarm.
The eight-day grand-sonnerie striking movement is stamped and numbered by the movement maker, 'Drocourt, 17704', is set and adjusted off the backplate except for the striking adjustment lever that goes out the base, has all the indications engraved in English, retains the original silvered balance platform with a lever escapement and strikes, repeats on tandem gongs.
The bottom of the clock is also stamped twice with the same serial number as the movement.
Height - 6in.
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c.1815 French Ormolu and Patinated Urn Clock
A superb French Empire patinated and ormolu urn clock. The patinated urn form top and pedestal base are adorned with several well-cast and finished mounts that include flanking winged female terms, a pair of dolphins with intertwined tails supporting a trident, mercury and animal feet.
The well-lettered white porcelain dial has Roman numerals for the hours, Arabic numbers for the fifteen-minute marks, an engine turned bezel and engraved ormolu hands.
The time and strike eight-day movement has the fast slow out the front, still retains the original silk-thread suspension and strikes the hours and half-hours on a bell.
Ref: For a near identical clock see 'French Bronze Clocks', pg.61 where the bronzer is identified as Claude Galle.
Height - 16.25in.
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c.1810
Ormolu and Patinated Bronze Mantel Clock
A good quality ormolu and patinated Empire mantel clock with a distinctly
classical theme. A finely cast and burnished ormolu bust, probably Ceres,
flanked by scrolls of equal quality, surmounts this unusual clock. Supporting
the green patinated top section are four animal feet and what seemingly
are the feet to the bust above. The mounts are all decorative elements originated
in classical art. The large white porcelain dial has finely lettered black
roman numerals and cast ormolu hands. The eight-day two-train movement strikes
on a bell and still retains its original silk-thread suspension. Although
unsigned, this clock is of equivalent quality to those clocks produced by
the top contemporary makers. For an identical clock see La Pendule Francais,
pg.383. Height 17in.
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c.
1825 Porcelain Vase Shaped Clock.
A very nice Empire porcelain vase shaped clock. The matte cobalt blue ground
of the center portion is elaborately decorated with polished and matte gilt
scrollwork featuring arms, armor and foliage. It wraps around the back where
there is a fairly detailed coat of arms which features a lion rampant. The
two handles flank the vase and terminate in swan's heads as they reconnect
to the main body. The whole is supported by a black base. The porcelain
dial features steel Breguet style hands and black Roman numerals. The eight-day
two-train movement strikes on a bell and still retains its original silk-thread
suspension. The movement can be accessed by a sliding brass door located
in the top of the vase, but as is not uncommon in porcelain clocks any notable
adjustments are made by removing the works through the front. Height 13
in.
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c.1815 French Ormolu and 'Antico Verde' Marble Mantle Clock, Ravrio and Mesnil, Paris.
A large Empire ormolu and marble mantle clock by the distinguished collaboration of the bronzer Ravrio and the clockmaker Mesnil. The large ormolu female figure is clad in flowing draperies that she delicately holds up with one hand while leaning against the marble clock case with the other. The rectilinear 'antico verde' marble case has numerous well cast and finished mounts that include a frieze that depicts the education of cupid above and a freeze of flower garlands tied by flowing ribbons to fluted torchieres. The whole sits upon a burnished ormolu base with an acanthus leaf molded edge and four stylized feet to the corners.
The eight-day flat bottom time and strike movement has well-cut and finished wheelwork, retains its original silk-thread suspension and strikes on a bell.
The extremely well-lettered white porcelain dial has black Roman numerals for the hours, black 15-minute marks, is signed by the makers, 'Ravrio bronzier a Paris' and 'Mesnil, Hr.', and has two Breguet style steel-cut hands.
This clock is impressive in both size and quality and is typical of the work produced by some of the best-known and most talented bronzers of the period.
Ravrio, listed 1759-1814, was a famous bronzer of the Empire period and was on the list of bronzers of the emperor.
Mesnil is listed as working as a clockmaker in Paris, Rue Saint-Marc, 1812-1815.
Height - 30 in.
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c.1810 Large French Ormolu and Patinated Mantle Clock, LeRoy à Paris.
An extremely impressive Empire Ormolu and patinated mantle clock by Bazille Charles Le Roy. The demilune shaped stepped ormolu case has numerous well-cast appliqués and moldings that include two mermen blowing horns, a frieze depicting Cupid's procession, masks of Neptune and two dolphins. Above a female figure depicting Venus is dressed in traditional garb and rests upon a patinated rockwork ground while scooping water from a small puddle with a sea shell. The whole stands on five bold elaborately engine-turned feet.
The white porcelain dial has finely lettered black Roman numerals for the hours, Arabic fifteen minute marks, two finely cut Breguet style steel-cut hands, an ormolu engine-turned bezel and is signed by the maker, 'Le Roy Hr. de Madame, à Paris'.
The eight-day time and strike movement has an anchor escapement, strikes on a bell, retains its original silk thread escapement with regulation out the front and has '464, JB, L712' stamped into the backplate.
Venus was a popular theme during the Empire period and the well-cast dolphins, trumpeting mermen and references to Neptune along with Cupid's procession suggest this to be a tribute to the Goddess.
Ref: Bazille-Charles LeRoy is listed in Tardy's as living 1765-1839. He established the House of LeRoy in 1785 and supplied clocks to the top tier of French Society including Napoleon, Madame Mere and le duc de Bourbon.
Height - 20in.
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c.1788 French Ormolu and Patinated Bronze Cartel Clock, Bertrand à Paris.
A very interesting French empire cartel clock by Bertrand à Paris. The circular patinated case is adorned with several well-cast mounts that include a laurel leaf garland with berries that incorporates a stylized cartouche above, an engine turned hinged and glazed bezel in the center and at the bottom an ivy leaf inspired garland.
The finely lettered polychrome dial has black Arabic numbers for the hours and fifteen minute marks, the makers name and title in blue, 'Charles Bertrand, Hger de L'Academie Des Sciences', 'A Paris' in red and has two finely cast and finished ormolu hands.
The large circular eight-day time and strike movement has a flat bottom, strikes on a bell and still retains its original silk-thread suspension with the fast/slow adjustment out the dial.
Round Empire cartels are far less common than the earlier more typical cartels. This particular maker, Bertrand, produced several of this design some of which included quarter-striking repeat work. Bertrand was also known to have used some of the best artisans in Paris including the enamellers Coteau and Anspach. The quality and execution of the dial certainly would necessitate the skill level of just such an artist.
Ref: Charles Bertrand is listed in Tardy's as follows:
'Joseph-Charles-Paul. Fils de Jacques. Né en 1746 à Nettancourt, prés Chalons. App. à Paris, 1761. Ch. d'o. 1770. Rue Montmartre, 1787-1789. 'Il fut horloger de l'Académie Royal des Sciences à Paris. Il fit des pendules à equation. Il signait: Cle Bertrand Hger de l'Académie Rle. Sciences. Il signe: Charles Bertrand hger de l'Académie. Rle des Sciences ou Chles Bertrand à Paris.'
He was the clockmaker for the Royal Academy of Sciences from 1787-1789.
Height - 9.5in.
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c.1845 Miniature Japanese Shitan Wood Pillar Clock with Original Case.
A good quality Edo period Japanese Shitan wood miniature pillar timepiece with original carrying case. The clock case is constructed from nicely grained and colored Shitan wood and retains both the drawer used to hold the original winding key and the original glazed removable hood with lift-out front door.
The one-day, weight-driven brass movement is screwed to the backboard, has a particularly delicately skeletonized front plate that depicts scrolling foliage, has a verge escapement regulated by a shaped brass balance wheel and has finely turned decorative corner and movement posts, wheelwork and arbors.
The wooden scale is secured by two tuned screws, has thirteen adjustable silvered engraved temporal 'hours' and has a separate brass indicator strip that shows subdivisions. The lead weight carries the engraved shaped hand that points to the time as it descends through the day.
The vast majority of pillar clocks are over sixteen inches long. It is exceedingly rare to find such a wonderfully preserved miniature example with the original carrying case.
Height of Clock - 10.625in.
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c.1830 Japanese Double Foliot Lantern Clock on Lacquered Stand.
A very decorative Edo period Japanese double foliot lantern clock on a lacquered mulberry wood stand. The brass time and strike weight-driven movement has hinged doors to the side, finely turned wheels and arbors, two decorative foliots with adjustable weights, and strikes a bell that is suspended from a turned post.
The engraved silvered dial has both the temporal hours along the inside edge and the characters for the signs of the zodiac along the outside edge. It is mounted to an engraved brass front plate that depicts scrolling foliage and has a wonderfully shaped steel cut hand.
The shaped mulberry wood case has carved frets, a stepped base, a particularly decorative midsection, a removable hood with stationary fabric backed frets to the sides and a swing out front door and the whole is adorned with finely applied red and gold lacquer work.
The whole is in pristine condition.
Height - 45in.
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An Extremely Rare Early 20th Century Enamel, Silver, Ivory and Marble Annular Dial Clock, A. Hof, Geneva, 58499.
A very rare early 20th century enamel, silver, ivory and marble annular clock by the firm Alfred Hof of Geneva. The detailed circular polychrome enameled case depicts several jesters entertaining well-dressed women on the shores of Lake Geneva and has a beaded silver edge above and an acanthus leaf edge below. The whole stands on four decorative animal feet that are mounted to a variegated green octagonal marble base with a molded edge. The original green leather case is included.
Mounted horizontally above is the polychrome enamel dial that includes shaded blue Roman numerals for the hours and roses for the half-hour marks all on a decorative ground. In the center, mounted to a mirror, is a carved ivory cupid standing in a silver leaf shaped vessel with a silver halberd that indicates the time as the clock runs.
The eight-day time only movement is located underneath and is wound and set through a shutter back.
The silver bottom has numerous stamps that include '58499, 0.935, AF, Geneva and Swiss'. It is also stamped by the retailer, 'Walser, Wald Y Cia, Buenos Aires'.
Ref: This piece is illustrated in Robert's 'Mystery Novelty and Fantasy Clocks', Pg. 86, Fig. 8-7.
Height of Piece - 4.75in.
Diameter of Piece - 6in.
Height of Case - 7in.
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c.1890 French Gilt-Bronze Champlevee Crystal Regulator
with Candelabra. A
very decorative gilt-bronze champlevee crystal regulator with the original
matching sidepieces. The rectangular case with rounded corners, including
the frame, bezel, pendulum and urn, is elaborately decorated with particularly
colorful enameling. Similarly decorated are the two unusually shaped sidepieces
with reversible lids. One side of the lid is meant to hold a candle while
the other is purely decorative. The shape of the urns echo the stylized
Egyptian motif established in the gilt-bronze mounts of the clock. The
two-piece dial with sunken center has blue enameled Roman numerals, steel
spade hands, an outside escapement and is signed 'Wm. Batty and
Son, Manchester'. The eight-day twin-barrel movement with Brocot
suspension strikes on a bell. Often such sets are broken up as the pieces
are dispersed through the generations so it is nice to find a complete
set of such remarkable work.
Height of Clock - 19.5in.
Height of Side Piece - 14 in.
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c.1885 Massive French Double-Sided Patinated, Gilt-Bronze and Red Variegated Marble Mantle clock, Clockmaker Bourdin, Bronzer Pascal.
A massive French late-nineteenth double-sided gilt-bronze, red variegated and patinated mantle clock. The large gilt-bronze ball has dials front and back and is enveloped by well-cast gilt bronze scrolling vines thick with leaves and grapes that are supported by three patinated putti on a rockwork base signed by the sculptor, 'Pascal scpl'. It is supported by an oval-shaped red variegated base with a stepped molded edge.
The two opposing dials each have silvered Roman numerals for the hours and decorative silvered hands. The front dial has the fast slow and the winding arbors while the back is secured by two screws and can be removed to afford access to the movement.
The large eight-day time and strike movement has a steel-suspension, strikes on a bell and has a separate set of plates mounted to the backplate that carries the motion work for the second set of hands.
It is rare to find such a large and well-designed clock that was meant to be both aesthetically pleasing and function in the round. The wine vines and upturned cup would suggest it was inspired by the many stories of Bacchus and his processions.
Height - 32in.
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c.1760 English Ebonized Bracket Clock with Quarter-Hour Repeat, Benjamin Sidey, London.
A superb early Georgian ebonized bell-top bracket clock with bronze mounts and a quarter repeat movement made for the Spanish Market by Benjamin Sidey, London. The well proportioned chamfered brass bound case has numerous well cast mounts that include the carrying handle, four caryatids and finials, brass moldings around all the openings and at the top, a shaped brass skirt and four bold bracket feet. There are two well pierced and engraved fabric backed frets to each side and matching spandrels to the front and back doors.
The broken arch dial has cast floral spandrels, floral engraving, silver engraved chapters for the hours, strike/silent and rise/fall and a silver engraved nameplate, 'Benjamin Sidey, London'. The dial also has a finely matted center with apertures for the false pendulum and calendar and finely pierced steel cut hands for the hours, minutes, and both subsidiary chapters. The hour chapter has Roman numerals for the hours and Arabic numbers for the minutes. The subsidiary chapters are in Spanish - the rise/fall with 'Atrasa' and 'Adalanta' and the strike/silent with 'Toca' and 'No Toca'.
The eight day time and strike double fussee movement has an elaborately engraved backplate, is fastened to the case by two engraved brackets, has 6 massive knopped and shouldered posts, well executed steel work and the original quarter-repeat mechanism. It still retains its original crown-wheel escapement and the pendulum has a steel rod, a brass lenticular bob and is suspended by steel suspension by the rise and fall arm. Moving the hand on the front of the dial slides the steel up and down in a narrow slit thus effectively changing the pendulums center of gravity and rate. The quarter-repeat mechanism is charged when the string out the base is pulled. Six hammers strike a sequence of six bells to repeat each passed quarter then strikes the hours on a separate larger bell.
Although it is rare to find a clock with both exceptional quality and wonderful proportions, this clock has both and would make nice addition to any collection.
Benjamin Sidey, the father, is listed as becoming a master in 1761.
Height - 18.5in. (excluding handle)
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c.
1895 Carved Walnut Eight-Bell Tallcase Clock, Maple and Company Ltd, London.
A very large elaborately carved walnut cased Turn-of-the-Century tallcase
clock by the well know makers Maple and Company, London. The solid walnut
case is elaborately carved on all three sides. It stands on four carved
feet and culminates with a removable crest depicting two reclining cherubs.
The top, waist and base all have full-length carved columns depicting both
male and female gods and lions. The elaborately engraved square gilt-bronze
dial has steel hands, silvered engraved hours and seconds chapter rings,
is signed by the maker and has, along the left edge, control levers for
the hour and quarter-hour chimes. The eight-day, quarter-striking movement
strikes the quarters on either a nest of eight-bells or four gongs and indicates
the hours on a large gong. The high-grade movement has maintaining power,
a large pendulum with a steel rod and brass lenticular bob and three polished
weights. This case is extremely similar to the Herschedes case we owned
previously that is now pictured in the Sold gallery. Height 107in.
SOLD
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c.1800 English Mahogany 30-Day Regulator, Earnshaw, London.
A very rare Georgian English 30-day regulator clock by the eminent maker Thomas Earnshaw, London. The superbly proportioned case has nicely figured and colored mahogany veneer. The hood has an unusually molded top, a glazed door that conforms to the top, molded false side lights and canted fluted corners with stop fluting. The trunk has a wonderfully figured door with a molded edge and canted fluted corners with stop fluting. The plinth has a raised figured panel and stands on a double base with a fretted front.
The large shaped silvered and engraved regulator dial with observatory marks has well-cut steel hands, is signed by the maker, 'Earnshaw, London' and is mounted to the movement by four finely turned two-piece posts.
The exceptionally well-made 30-day time only movement has unusually angled plates, a dead-beat escapement with jeweled pallets, a counter-weight for the minute hand, maintaining power and five large finely turned screwed posts. The particularly fine wheelwork has high pinion counts, six-spoke crossings throughout and are affixed to the arbors by keyway collets with set screws rather than simply peened. It sits upon a mahogany seatboard and is sheltered by a wooden dust cover.
The heavy pendulum has a gilt-wood rod, is suspended from a brass bracket that is mounted to a substantial internal mahogany framework, has a massive brass-bound lenticular bob that is adjusted by a silver-engraved rating nut, and has a separate engraved spherical micro adjustment below. The silvered and engraved rating plaque is mounted to a wood block and is positioned just behind the pendulum. The large brass-bound weight with gadrooned top is suspended by an extremely well-made brass multi-piece pulley.
Thomas Earnshaw was one of the premier English makers of the late 18th and early 19th centuries. His chronometer escapement became the standard escapement used during the 19th century since it was able to be produced not only by a few premier makers, but proved equally accurate when produced by skilled workman.
His production of regulators began in the late 18th century and the number of known examples are limited. They range technically from his masterpiece, the regulator made for the Armaugh Observatory in 1794, to several high quality domestic regulators including the present example.
The unusual nature of the case and quality of the movement suggest the clock was made for someone who appreciated Earnshaw's work, but either did not require or could not afford the accuracy provided by an observatory regulator. It is interesting to note that even when commissioned to make a fairly simple regulator Earnshaw did not purchase the movement from one of the well known movement makers such as Thwaites and Reed, but created his own design that was clearly influenced by his fluency in watch and chronometer production.
It is particularly exciting to be able to offer such a fine example of previously unknown English horology.
Ref: For a comprehensive history of Earnshaw's regulators see: Derek Robert's 'English Precision Clocks', Vol. II.
Thomas Earnshaw is listed in Britten's as living 1749-1829.
Height - 85.75in.
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c.1845 Japanese Ebony Striking Pillar Clock
A very good quality mid-nineteenth century striking stick clock or 'Shaku-Dokei'. The ebony wood case has a removable glazed hood with a lift-out front door, two fabric-backed gilt-brass pierced and engraved frets to each side, a scale at the front and a drawer for the key at the bottom.
Mounted to the backboard is the gilt-brass going movement with finely cut and spoked gear work, turned brass baluster columns at the corners, a skeletonized front plate that is pierced and engraved with chrysanthemums and a verge escapement with an adjustable brass balance wheel. A separate key wound striking mechanism acts as the weight and drives the one-day time mechanism.
The engraved gilt-bronze time scale is fastened top and bottom by two large turned screws, has an engraved brass scale set at the edge, has engraved silver veneered 'hour' characters on shaped plates and brass 'half-hour' markers.
The pierced and engraved hand is carried by the striking mechanism and points to the different characters as it descends through the day. The backs of the 'numerals' extend into the case and trip the striking mechanism at the proper intervals. It follows the Japanese sequence of striking two series of nine to four alternating one and two strikes at the 'half-hours'. An acceptable explanation for this method is still unknown although several theories have been proposed.
Height - 20 in.
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c.1900 French Champlevé, Etched Glass and Gilt-Bronze Mantle Clock
A very decorative late Victorian French gilt-bronze, champlevé and etched glass mantle clock. The six-sided case has cast gilt bronze decorative columns, floral finials, a large urn above and stands on six cast feet. The top, base, columns, urn, dial, pendulum and two finials have flat, detailed decorative floral and geometric champlevé. There is thick beveled glass with decorative floral decoration on five sides while the back door was fitted with a plain beveled glass.
The elaborately decorative dial has a pay stone bezel, a champlevé center, polychrome floral swags, blue Roman numerals for the hours, black Arabic numbers with gilt-dots for the five-minute marks and nicely shaped steel-cut hands.
The round eight-day two-train movement has a Brocot escapement that is regulated out the dial and strikes the hours and half-hours on a gong.
Height - 15.5 in.
SOLD
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c.1875 French Gorge Cased Carriage Clock, Drocourt.
A very nice small French gorge cased carriage clock by Drocourt. The gilt-bronze case has beveled glasses to five sides and a hinged handle. The white porcelain dial has Roman numerals for the hours, Arabic numbers for the five-minute marks and the alarm dial and Breguet style steel-cut hands.
The eight-day time, strike, alarm and hour repeat movement retains the original balance platform with a bi-metallic screwed balance wheel, is wound and set out the back, stamped and numbered by the maker, '8210' and strikes on a bell.
This clock is nice for its diminutive size, the detailed workmanship and that it strikes on a bell since the vast majority of carriage clocks strike on a gong.
Ref: For a more detailed discussion on Drocourt see 'Carriage Clocks' by Charles Allix, pg. 438.
Drocourt's stamp was a 'D' and 'C' flanking a carriage clock set within an oval.
Height - 4.375in. (w/out handle)
SOLD
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c.1895 French Porcelain Mounted Gilt-Bronze Mantel Clock.
A large and impressive porcelain mounted Victorian gilt-bronze mantle clock. The oval shaped case has ram's heads and floral mounts to the sides, is surmounted by a large vase finial and is supported by two well-cast cherubs sitting on an elaborate porcelain mounted base with toupie feet. Along the base are six finely executed porcelain plaques each bordered by a decorative edge. Each plaque depicts a cherub reclining in a bed of flowers while contemplating one of his tools of love.
The extraordinary oval shaped porcelain dial depicts two winged cherubs above amongst scrolling foliage, an idyllic landscape in the center and a beautiful maiden below reclining in a bed of flowers. The clock dial has black Arabic numbers for the hours each framed by an elaborate gilded border, a black minutes chapter and two gilt steel-cut hands. The whole is protected by a large hinged bezel with a thick beveled glass.
The eight day time and strike movement strikes on a gong and has the fast/slow for the Brocot escapement out the dial.
Height - 24.5in.
SOLD
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c.1885 French Gilt-Bronze Carriage Clock with Moon Dial.
A very nice late 19th century gilt-bronze carriage clock with simple calendar, moon aperture and alarm. The gilt-Bronze Anglaise Riche case has a shaped fluted handle, fluted quarter columns with Corinthian columns, two serpentine bands and beveled glasses throughout.
The time dial has well-lettered black Roman numerals for the hours, Arabic numbers for the five-minute marks, steel-cut spade hands and a shaped aperture for the rotating moon dial that is decorated with gilt stars against a blue enamel ground and silver moon. Below are the three subsidiary dials that include the date on the left, the alarm in the center and the 31-day calendar on the right. All the dials are framed by a matted silvered mask.
The eight-day time, strike and alarm movement retains its original silvered balance platform, is wound and set off the backplate, has all the indications engraved in English, is numbered '252' and strikes and repeats on a single coiled gong. It is interesting to note the misspelling of 'moon' on the backplate by the French engraver.
Ref: For a more complete discussion on moondial carriage clocks see 'Carriage clocks' by Charles Allix.
Height - 6in.(w/out handle).
SOLD
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c.
1785 French Ormolu and Patinated Mantel Clock, Furet a Paris. Attributed
to Thomire, bronze caster, and Moitte, sculptor.
A very rare Louis XVI ormolu and patinated figural mantel clock signed by
the clockmaker Furet Horologer du Roi, and attributed to the bronzer Pierre-Philipe
Thomire and the sculptor Jean-Guillaume Moitte. In the center is a burnished
ormolu alter that has engraved moldings and supports the patinated figure
of Cupid who stands amongst swirling clouds. To one side are two patinated
vestal virgins, the keepers of the eternal flame and servants of Vesta,
making an offering. On the other side is the eternal flame that is supported
on three curved legs that terminate in wonderfully cast rams heads above
and hooves below. Scattered about the base are a pitcher and an assortment
of Cupid's implements including his bow, quiver and shield. A patinated
drapery that begins in the right hand of the standing virgin flows through
the assorted mounts where it finally ends draped over the ormolu steps.
The whole assembly sits upon an oval shaped white marble base which has
a finely cast and detailed freeze across the front and stands on six bun
feet. The white porcelain dial has extremely finely lettered black Arabic
numbers for the hour's chapter, red numbers for the fifteen-minute markers,
cast ormolu 'scissor' hands that unusually have not been clipped and is
signed in red by the clockmaker Furet, Horologer du Roi. The twin-barrel
eight-day movement strikes on a bell and still retains its original silk-thread
suspension. The rarity of the piece is not the subject matter or iconography,
but the way it is executed and the artists involved. The general quality
is superior, from the castings to the finishing work, and is consistent
with these masters. There is a spatial component to the scene that is very
theatrical. It is a scene being played out on a stage. Such compositions
were favored by the English maker Vulliamy whose designs were based on funeral
statuary and of greater relevance the bronzer Thomire. There are several
clocks that have been attributed to Thomire which contain the same elements
as this clock. Two are listed in Vergoldete Bronzen, pages 298-299 including
the one in the Getty museum. It is there that Moitte is given the attribute
of sculptor. The clockmaker, Jean-Baptiste-Andre Furet was made clockmaker
to the king in 1783. His clocks ranged from very high quality mantel pieces
to the famous Negress clock made for Marie Antoinette. The clock is restored
and complete. Height 16.5in. Width 22in.
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c.1780 Temple d'Amour Clock with Swinging Cupid, Ballion a Paris 2782.
A very large, rare and impressive Louis XVI ormolu and white marble Temple d'Amour clock by Ballion. The white marble case is cylindrical, typical of Temple d'Amour clocks, but is larger and on a much grander scale with very elaborate mounts. The clock is surmounted by an ormolu Chinaman with a parasol which, along with the palm trees surrounding the movement, give the piece an Oriental flavor.
The horizontally mounted movement with original verge escapement has both hour and minute annular dials, endplates on the bottom plate, very delicate and nicely spoked wheelwork and is signed and numbered 2782 on the top plate. The extremely rare pendulum is a bisque cherub suspended on two wire rods that represent a swing. It has a double knife-edge suspension and swings to and fro while the clock is running and strikes on a specially designed bell which allows the pendulum to swing freely.
Completely original, this clock would make a fine addition to any collection.
This clock was in the William S. Paley collection sold by Sotheby's, Lot 238, Oct. '91.
Height - 21.5 in.
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c.1800 French Patinated and Ormolu Blackamoor Clock, Armingaud Lie, A Paris.
A very rare Empire patinated and ormolu blackamoor mantle clock. The patinated female figure depicts 'Africa' with original patination, porcelain eyes and glass earrings. She is partially clad in a feather skirt, has ormolu bracelets on her legs and arms, wears a double beaded necklace and her quiver and carries her bow and an arrow. To one side she rests her leg upon an ormolu turtle while to the other sits a domesticated ormolu panther. The whole sits upon a patinated shaped base with several ormolu mounts and stands on six beaded ormolu toupie feet.
The finely lettered porcelain dial has black Roman numerals for the hours, black Arabic 15-minute marks, gold diamonds for the five minute marks, an engine-turned ormolu bezel, nicely cast and finished ormolu hands and is signed by the maker 'Armingaud Lie, A Paris'.
The eight-day twin-barrel movement still retains its original silk-thread suspension, is adjusted for fast/slow out the front and strikes on a bell.
The figure has several distinct markings. On the back of her neck there is an obvious punch mark that seems to be a backward '2' and '0'. She is also marked several times with the initials 'AM' which we assume to be a bronzer's or foundry mark, but have yet to identify it. Interestingly, we have also had the 'America' model with several parts marked with an 'AF'. The type of lettering and placement was nearly identical.
Ref: Armingaud is listed in Tardy's as working at Rue Meslay 1806-1813.
For a more detailed description of Blackamoor clocks see 'French Bronze Clocks', pg.140.
The model was originally patented by Deverberie in 1799.
Height - 17.75in.
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c.1795
Small English Brass-Bound Polished Fruitwood Balloon Clock
A small Georgian polished fruitwood brass-bound
balloon clock. The balloon shaped case has stepped sides, brass mounts,
is veneered with a close grained brown toned fruitwood and has a shaped
brass bound molded base that wraps around the clock. The brass mounts
include the particularly well cast finial, four bold bracket feet, a glazed,
molded bezel, a fret and a shaped, cast brass strip.
The silvered, engraved dial has a 4-inch minutes chapter ring, Roman numerals,
Arabic 5-minute marks and finely pierced steel-cut hands. The eight-day,
flat-bottomed, time-only fusee movement has an anchor escapement and a
nice quality pendulum with a brass and steel rod and a brass bound lenticular
bob. The flat bottom seems absolutely original since the bottom edges
still retain the layout marks used to align the plates to complete the
wheelwork.
Unusually, the dial and movement are mounted through the front, much like
period dial clocks, thus eliminating the necessity for brackets. This
well-finished clock was probably made by one of the better country makers
of the period, but unfortunately, since it is not signed we might never
know his name. The original lock on the back door has been lost, but there
is now an early swing latch that serves the clock admirably. This is a
wonderful piece in restored condition.
Height 15in.
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c.1840 Austrian Year-Going Ebony and Ormolu Mantle Clock.
A very rare mid-19th century Austrian year-going quarter-repeat ebonized mantle clock with ormolu mounts.
SOLD
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c.1845 French Mechanical Orrey, Delemarche à Paris.
A very nice early 19th century mechanical orrey clock by Delemarche à Paris.
SOLD
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c.1830 Austrian Wall Regulator.
An early nineteenth century Austrian Dachluhr clock. The six pane glazed mahogany case has nicely faded veneer with maple edging throughout including the rounded top, the concave molded bottom and the swing out door and is secured to the wall by two nicely turned brass hold downs.
The eight-day weight-driven movement is mounted to wooden slide-out seatboard that is supported by two cheeks mortised through the backboard. It has a steel anchor, nicely spoked wheelwork, a shaped backcock and a crutch with a screwed beat adjustment. The adjustable brass lenticular bob has a screwed back plate, an ebonized wooden rod and is suspended from the backboard as is the painted silver regulation plaque. It is powered by a brass weight suspended from a finely spoked star shaped brass pulley.
The white porcelain dial has nicely lettered black Roman numerals for the hours, two nicely cut steel hands and a detailed ormolu engine-turned bezel.
It has been completely restored and would make a fine addition to any collection.
Height - 34in.
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c.1845 An Extremely Rare Striking Stick Clock with an Alarm.
A very rare Edo Period striking stick clock or 'Shaku-Dokei' with an alarm. The ebony wood case has a removable glazed hood, two fabric-backed gilt-brass pierced and engraved frets to the sides, a scale at the front and a drawer for the key at the bottom.
Mounted to the backboard is the gilt-brass going movement with finely cut and spoked gear-work, turned brass baluster columns at the corners, a skeletonized front plate that is pierced and engraved with chrysanthemums, a verge escapement with an adjustable brass balance wheel and a silver butterfly that rotates as the clock runs.
The ebony time scale is fastened top and bottom by two large turned screws. It has an engraved brass scale set at the edge with an adjustable ormolu bird, engraved silver temporal hour plaques and brass shaped 'half-hour' markers. The top plaque is engraved with the character for 'Ken', a name found on some of the better stick clocks.
The spring wound striking mechanism carries a pierced hand that points to the time as it descends, powers the time movement above and strikes the Japanese sequence of two series of nine to four alternating one and two strikes at the 'half-hours'. Most importantly, it also carries a separately wound spring driven alarm mechanism. Once it is activated by the lift arm off the back of the bird it strikes by clapper until it unwinds.
It is exceedingly difficult to find such a rare and unusual piece in such original condition. The only other example we have been able to find is the one pictured in Mody's. When compared the details certainly suggest they were made by the same clockmaker.
Ref: Mody's, Plate 81.
Original key included.
Height - 22.25 in.
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c.1877 German Carved Walnut Long-Running Conical Wall Regulator, Gebhard Bosch, Lübeck.
A wonderful Victorian German long-running Conical Wall Regulator by Gebhard Bosch, Lübeck. The nicely proportioned glazed case has a carved crest flanked by finials above, a hinged door with applied floral carvings, burled veneer to the backboard and a carved naturalistic curvilinear base.
The movement runs just over two weeks, has thick tapered and shouldered plates secured by massive screwed posts, a chain fusee, maintaining power, numerous end-caps with the one for the seconds shaft jeweled, high pinion counts, a conical escapement and is signed and dated on the backplate by the maker, 'Gebhard Bosch, Lübeck, 1877'.
The pendulum is suspended by a complex universal suspension that hangs from a brass bracket with adjustments for up/down, side to side and front to back. It has a steel rod, an adjustable brass weight cup, a large screwed brass adjustment weight above the universal suspension, a small globe that serves as the bob and a pointer below that interacts with the steel detent off the escapement. The 4.5in. terrestrial globe is signed, 'Die Erdkugal nach d neuesten und besten Quellen entworfen, Berlin, geogr. Art. Anstalt, E Schotte & Co., Lith Bei Korbgeweit'. As the clock runs the globe rotates within the case.
The two piece porcelain dial has a sunken center, well-lettered Roman numerals for the hours, brass bezels, decorative steel-cut hands, a going bit and is signed by the maker, 'Gebhard Bosch, Lübeck'.
Family history maintains that the clock is one of three made by the maker for each of his children as wedding presents. This one was made for Marie Bosch who later settled in Scotland where it remained until the mid 90's.
Ref: This clock is pictured with a description in Derek Robert's, 'Precision Pendulum Clocks, France Germany, America and Recent Advances', pg. 193, Fig. 35-14.
Height - 54in.
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c.1885 French Engraved Gilt-Bronze Carriage Clock, Margaine, 11585.
A very nice late Victorian engraved gilt bronze carriage clock. The Gorge case has deep, crisp engraving highlighted by heavily matted grounds and nicely beveled glasses to all five sides. The finely lettered white porcelain dial has bold black Roman numerals for the hours, an Arabic 12-hour alarm dial, steel cut Breguet style hands and is signed by the retailer, 'Howell & James, To the Queen, London'.
The eight-day time, strike and alarm movement strikes on a gong and is stamped and numbered by the movement maker Margaine, 11585. The original balance platform has a Lever escapement, a cut bimetallic screwed balance wheel, a Breguet spring and the fast/slow to the back.
The engraving on this clock is particularly nice and was probably done to accommodate the English taste where it was retailed by Howell and James.
Howell & James of London was set up by John Howell and Isaac James in about 1819. They were originally Silk Merchants and Retail Jewelers. By 1838, Isaac James had left the partnership and the partners were now John Howell, Henry Gillett, Thomas Stroud and William Sedgwick. The company was now called Howell & James & Co. The company exhibited at the Great Exhibition in London. In about 1860 the company opened a new premises in Regent Street. The company changed its name again in 1884 to Howell & James Ltd. By 1865, this building housed a staff of over 140 women, most of whom lived over the shop at Regent Street. The building was so large, that many had separate bedrooms. The Regent Street premises were reconstructed in 1881 with a new terracotta façade. The company was trading until about 1911.
It is completely restored and functions as designed.
Height - 5 5/8 in. (h/down)
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c.1885 Massive French Gilt and Silvered Bronze Animated Lighthouse Clock.
A late 19th century massive gilt and silvered bronze animated lighthouse clock. The gilt-bronze case is shaped like an early lighthouse with decorative brickwork, silvered-bronze windows and door and a cast gilt-bronze balustrade. The silvered and gilt-bronze animated top has a clock, a barometer and two thermometers. The whole sits upon a circular black Belgian marble base.
In the base is the separate spring driven movement that is wound out the side and rotates the top for several hours per wind. The clock has a time and strike eight-day movement with a balance wheel escapement and the fast/slow out the front, a silvered well-lettered dial with Roman numerals for the hours, steel cut hands and a sunken gilt bronze center. The aneroid barometer has a silvered circular well-lettered scale, a gilt hand to register the last reading and a steel cut hand to register the current barometric pressure. To the sides are the two thermometer scales each with mercury tubes.
This clock is particularly rare for its size and condition. Larger examples such as this are exceedingly rare and are avidly sought by collectors.
For additional reading on Industrial clocks see: 'Mystery, Novelty and Fantasy Clocks' by Derek Roberts.
Height - 27.5 in.
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c.1779 French Ormolu and White Marble Mantle Clock, Seigneuret à Paris.
A very nice quality Louis XVI ormolu and white marble mantle clock by Pierre Augustin Seigneuret. The movement sits within an ormolu drum atop a fluted marble column. Surmounting the drum is a marble urn with ormolu handles and a floral finial. A large nicely cast and well finished ormolu floral swag drapes under the dial, is mounted to the drum on each side by decorative ormolu bows and terminates against the stepped white marble base supported by six decorative ormolu bun feet.
The finely lettered white porcelain dial has black Roman numerals for the hours, black Arabic numbers for the five-minute marks, has the name of the maker, 'Seigneuret A PARIS' in flowing red lettering and has finely cast and finished ormolu hands. Interestingly, it is also signed on the back by the enameller, 'Anspach Mars 1779'.
The well-finished flat bottom eight-day two-train movement has the original silk-thread suspension that is adjusted for fast/slow out the dial, has a starred count wheel and strikes on a bell. The anchor's shape was originally discussed in Thiout's 'Traite de l'Horologerie mecanique et pratique' in 1741 and considered by him to be the perfect shape for this type of escapement.
Pierre Augustin Seigneuret is listed in 'Tardy's' as working at the Rue du Temple from 1772-1784.
Anspach is listed as working at the Rue de la Calandre from 1782-1789. One example of his work is signed 'AnsPach Juillet 1782'.
Height - 16 in.
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c.1950
Enamel and Gilt-Bronze Table Clock, Imhof, Switzerland.
A rare enameled, horizontally oriented, gilt-bronze desk clock by Imhof,
Switzerland. The enameled case represents the night sky with the zodiac
signs outlined in copper. The dial follows the same theme and has colored
markers for the different hours and gilt-bronze shaped hands, bezel and
the number '12'. The movement is an eight-day, time- only watch movement
that flips out to be wound, set and regulated. Imhof's enameled pieces are
very rare and are avidly collected. Height 2.25in. Diameter 4.75in.
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c.1870 French Engraved One-Piece Carriage Clock, Auguste à Paris.
A French late 19th century gilt-bronze and porcelain three-piece set. The clock is in the form of a stylized gilt-bronze rockwork canopy. Surrounded by several of their attributes, including the basket of fruit and the goat heads, two young satyrs are depicted wrestling. Flanking them are two porcelain portraits that are most likely Marie Antoinette. The whole sits upon a D-shaped porcelain mounted base and supports the clock above.
The finely lettered white porcelain dial has blue Roman numerals for the hours, blue Arabic numbers for the five-minute markers and elaborate gilt-bronze hands.
The eight-day time and strike movement strikes on a bell and has a balance wheel escapement mounted to the backplate.
The four light matching gilt-bronze sidepieces have polychrome porcelain panels to the bases and matching porcelain urns in the centers.
The whole is in restored condition.
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c.1895 Decorative French Gilt-Bronze Grand-Sonnerie Carriage Clock.
A superb French gilt-bronze grand-sonnerie striking carriage clock. The heavy well-cast case has detailed anthemion moldings and feet, a hinged cast handle, beveled glasses to all sides and engraved frets to the front and the sides. The frets to the sides depict nestled birds framed by scrolling foliage while the front fret serves as the mask and depicts scrolling foliage backed by a polished gilt bronze plate.
The well-lettered convex polychrome porcelain hour's dial has Arabic numbers for the hours, engraved gilt-bronze hands and is decorated with gold dots and a blue arcaded decorative design. The small convex white porcelain alarm dial is set below, has a gilt-bronze hand and is similarly decorated.
The eight-day time and grand-sonnerie striking movement has an alarm, is wound and set off the backplate, has all the engraved arbor indications in English, still retains its original high-quality balance platform, strikes on two gongs, has the strike control arm out the bottom and is numbered '5124'. The silvered Swiss balance platform has a screwed cut bi-metallic balance wheel, a Breguet overcoil hairspring, large jewels for the pallets, and a jeweled and a polished steel end-cap for both the escape wheel and anchor arbors.
It is rare to find a carriage clock that combines a great quality decorative case with a superbly executed complicated movement. Completely restored, it would make a fine addition to any collection.
Reference: For an identical balance platform see Derek Roberts, 'Carriage and Other Travelling Clocks', pg.80.
Height - 6in. (w/out handle)
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c.1890 Rare French Gilt and Silvered Bronze Grand-Sonnerie Carriage Clock with a Moondial, Simple Calendar and Alarm.
A large rare French gilt and silvered-bronze carriage clock with a moondial, simple calendar, alarm and grand sonnerie striking. The large silvered case has beveled glasses to all sides including the viewing panel above and exceptionally well-cast and finished gilt-bronze mounts that include the thick acanthus inspired moldings top and bottom, detailed caryatids to the four chamfered corners, and a large decorative hinged handle.
The four finely lettered porcelain dials are framed by a gilt-bronze matted mask. Centered above is the polychrome enamel hour's dial with black Roman numerals for the hours, two shaped steel-cut hands and most importantly the moon dial. Rotating behind the shaped aperture set within the night sky is a blue enameled disc with gilt stars and moons that indicates the phases of the moon on a 29.5 day cycle. Below are the three porcelain subsidiary dials for the alarm set, day and date all with black Arabic numbers and steel-cut hands.
The eight-day time and grand-sonnerie striking movement has an alarm, is wound and set off the backplate, has all the engraved arbor indications in French, still retains its original high-quality balance platform, strikes on two gongs, is numbered '11842' and has the moon set and strike control arms out the bottom.
Complicated carriage clocks in elaborate cases are very rare. This particular piece has a complicated mechanism with grand-sonnerie striking and subsidiary dials in a well executed and decorative two-tone case with highly detailed caryatids. Completely restored, it would make a nice addition to any collection.
Ref: For a more complete discussion on moondial carriage clocks see 'Carriage clocks' by Charles Allix.
Height - 6.35in. (w/out handle)
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c.1840 Austrian Patinated and Ormolu Mantle Clock
A very nice early nineteenth century Austrian mantle clock and writing set. The ormolu and patinated bronze case depicts a patinated Diana standing beside an ormolu tree amongst several writing implements in the shape of an eternal flame, a vessel and a reclining lion. The whole stands on a shaped patinated base on six bun feet.
The white porcelain dial has Arabic numbers for the hours, three winding arbors and steel-cut hands.
The small one-day quarter-striking movement has a silk thread suspension, an on/off striking lever out the front and strikes on two bells.
Height - 13in.
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c.1929 Extremely Rare Cartier Ship's Striking Mantle Clock. Cartier 2741, Chelsea 192,092.
SOLD
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Extremely Rare Enamel, Ivory and Quartz Annular Desk Clock, Gubelin, Lucerne.
SOLD
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c.
1830 English Mahogany Stick Barometer, Watkins & Hill, London.
A
well-proportioned English Regency mahogany stick barometer by Watkins & Hill,
London. The architectural case with well-figured mahogany veneer and
ebony inlay, a molded flat top, a molded edge bordering the barometer
scale, a removable thermometer and a turned cistern cover. The round
top thermometer has a glazed front, a rounded edge with ebony inlay,
a mercury filled tube and a silvered engraved temperature scale that
shows the temperature in both Reamur and Fahrenheit. The silvered engraved
barometric scale is signed by the makers, 'Watkins & Hill, 5 Charing
Cross, London', is numbered 26-31 with 10 th divisions and has a rack-and
pinion set vernier. Interestingly, as Goodison remarks on another one
of the makers' barometers, the weather indications are in the simplified
form favored by the eminent maker Adams.
It is in completely restored condition.
Watkins
and Hill are listed as working 1819-1856 in the 'Directory of
British Scientific Instrument Makers, 1550-1851'. The firm itself is
listed at that address from 1822-1856 and was known to have made and
sold the highest quality instruments including barometers, thermometers,
microscopes and sundials.
SOLD
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c.
1850 English Mother-of-Pearl Inlaid Rosewood Wheel Barometer, R Camotta,
Halifax.
A
mid 19 th century wheel Barometer by R. Camotta, Halifax. The Rosewood
case with extensive Mother-of-Pearl inlay has a molded swans-neck top
and a squared off base, a removable thermometer and a particularly small
dial. The removable convex rosewood thermometer has a silvered engraved
Fahrenheit scale and an alcohol tube. The small 4.75in silvered engraved
barometric dial has a brass glazed bezel, has the barometric pressure
scale, 28-31, has the appropriate weather conditions and is signed by
the maker R. Camotta, Halifax.
Most
wheel barometers, as the name suggests, are much larger in the center
and have larger barometric dials. Although still a wheel barometer,
the size of the dial imparts it with some of the decorative aspects of
a stick barometer and for that reason such barometers are avidly sought
by barometer collectors and enthusiasts.
For a very similar example see: 'Barometers' by Bert Bolle, pg.165.
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c.
1847 French Mahogany Wheel Barometer.
An unusual French wheel barometer with exaggerated
curves accentuated by the highly figured and wonderfully faded mahogany
veneer. The case, dated in pencil on the back, has an architectural top,
a cast glazed bezel and silvered engraved scales. The mercury thermometer
has both Centigrade and Reaumur scales and is supported by a patinated bronze
face. The unusual barometer dial only shows from 27 to 29 and is signed
with the name of the person for whom the barometer was originally made,
'par Duvaldestin a Versaille'.
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1820
English Satinwood Barometer with Clock, Richard Ganthony, 49 Lombard St.,
London.
A very large and desirable Regency satinwood barometer with a clock by Richard
Ganthony, London. The satinwood, of particularly good figure and color,
is framed by a decorative banding that includes a combination of ebony and
satinwood stringing and cross banding. The swan's neck top has ebony moldings
with ivory rosettes and urn shaped finial. The finely lettered porcelain
clock dial is signed by the maker 'Rich'd Ganthony, Lombard Strt, London',
has unusual steel spade-style hands and Roman numerals. The original time-only
eight-day chain fusee movement has an anchor escapement, still retains its
original pendulum and can be started and stopped via an opening in the side.
The silvered and engraved 12-inch barometer dial indicates the barometric
pressure in 100ths from 28 thru 31, is framed by a large glazed brass bezel,
and has two finely cut hands, one blued and one gilt. The gilt hand is manually
adjusted by the turned ivory knob located below and shows form where the
steel indicator hand has moved. The thermometer with cross-banded veneer
and ebony stringing has a silvered, engraved Fahrenheit scale with a mercury
thermometer tube. The hydrometer has a molded brass glazed bezel and silvered
engraved scale. As is the case with most barometers of this period they
are both removable and can be used independently. The level at the bottom
also has a brass, glazed bezel and a silvered engraved scale, and is also
signed by the maker, 'Ganthony, 49 Lombard Strt, London'. The barometer
still retains its original mercury J-tube that has several additional bends
to accommodate the clock movement. For similar barometers see Edwin Banfield,
Barometers, pgs. 85-89. Richard Pinfold Ganthony is listed in Britten's
as working 1813-1845. The family worked at 49 Lombard St. from 1806-1825
when they moved to 83 Cheapside St. Overall Height 48.5in. Width 14.5in.
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c.1825
French Mahogany Stick Barometer with Ivory Float.
A very rare and unusual Empire mahogany
stick barometer for the Italian market. The case with well figured, nicely
colored mahogany has an architectural top with dentil work, a large bore
exposed glass tube, an ivory float, silvered and engraved scales and a
turned mahogany cylindrical cistern cover with a removable top. The left
scale is numbered 28-32, is divided in 10ths and has the weather indications
in Italian. The right scale is numbered 26-30, is divided in 12ths and
carries the vernier. The silver, engraved Reamur thermometer scale is
labeled in Italian , 'termometro, Reaumur' and includes 'Gelo'
as the freezing mark. The boxwood cistern is recessed into the case and
it and the tube are secured by two brass hold-downs. The cylindrical cistern
cover is slipped over the cistern and when the tube is securely fastened
it is held in position. Mounted just below the cistern, but hidden by
the cover, is the finely threaded screw adjustment.
The ivory float, mounted on top of the cistern, is one of the ways the
barometer makers had used to 'zero the scales' and was only
used on the very best examples. To make an accurate reading the key, normally
stored in a brass lined hole in the side of the case, is used to adjust
the leather of the cistern until the mark on the inside floating piece
lines up with the mark on the outer sleeve. This is commonly referred
to as the 'neutral point' and was the mark used to calculate
the inch marks on the scales.
This is a good example of the superior skills of both the French furniture
and instrument makers of the Empire period.
We have yet to find a similar example, but for additional information
about the ivory float see: English Barometers by Goodison, pgs. 77-80.
Height - 42.5in.
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c.1860
Walnut Cased Union Barometer, Currier and Simpson.
A very rare walnut cased barometer patented
by Currier and Simpson in 1860. The simple rectangular case has a thick
beveled glass that protects a large inverted J-Tube with a massive mercury
reservoir at the bottom and a top that can be unsealed by a screwed knob.
On one side is the engraved silvered temperature scale with markings for
Fahrenheit and a mercury filled thermometer tube with a large bulbous
reservoir. The scale and tube slides up and down and is manually adjusted
by a knob at the base.
On the other side is an engraved silvered barometric scale. It reads from
the top down, is numbered 28-31 with the appropriate weather indications,
is segmented in tenths, has a vernier that is regulated by moving the
temperature scale and is signed by the makers, 'Currier and Simpson,
Pat'd January 31,1860'.
The barometer's size and simplicity mean it was probably meant to
be portable. Since changes in air temperature affect the level of mercury
in barometers and false readings were common its purpose was to eliminate
the temperature error commonly found in mercurial tube barometers and
establish a more accurate reading.
The barometer is set by unscrewing the top of the tube and moving the
temperature scale by a knob at the bottom until the two columns of mercury,
the temperature and the barometric, are even. If only the temperature
changes both columns will remain even and there is no change in the barometric
reading. If there is a difference between the levels, however, it is due
to changes in the barometric pressure alone and a trusted reading can
be established. The barometer also takes advantage of a very large reservoir
of mercury with a fairly large bore tube, the other common, but less effective
way of eliminating errors.
It is rare to find a barometer that steps outside the common boundaries
and tries to advance accuracy. This would make a fine addition for any
collector who truly appreciates the technical innovations associated with
trying to determine changes in barometric pressure and in turn, amongst
other things, trying to predict the weather.
Unfortunately the rarity of the barometer has made it difficult to find
any additional information. There is an old, very faded and mostly illegible
label that is pinned to the back. It seems to be a description of the
barometer and it's normal operating instructions.
Height - 16.5in.
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c.1800
English Mahogany Stick Barometer, Dolland, London.
A late Georgian English stick barometer
with exposed tube signed 'Dolland, London'. The case with
nicely figured mahogany herringbone veneer and a molded edge, a molded
architectural top with a brass finial, silvered engraved scales and a
hemispherical cistern cover. The silvered engraved barometric scale is
signed by the maker, 'Dolland, London', is numbered 27.5-31
with 10th divisions and the appropriate weather indications, has a brass
end-tube cover and a friction set Vernier. The boxwood cistern is concealed
by a particularly well-turned cover and is housed in the base with a fixed
adjusting screw regulated out the bottom. The whole is in restored condition.
Peter and George Dolland sold a wide selection of meteorological instruments
from the late 18th to the early 19th centuries.
For more info on the Dollands see 'English Barometers', Nicholas
Goodison, pgs. 128-130.
Height- 40.5in.
SOLD
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c.1890 Rare French Gorge Cased Carriage Clock with a Moondial, Sweep Second Hand, Simple Calendar and Alarm, Margaine, 4415.
A rare French gilt-bronze gorge cased carriage clock by Margaine numbered '4415'. The molded case has pinched corners, beveled glasses on five sides including the top to view the balance, a repeat button and a shaped handle.
The four finely lettered white porcelain dials are framed by a gilt-bronze matted mask. Centered above is the hours dial with black Roman numerals for the hours, black Arabic numbers for the five minute marks, two shaped steel-cut hands and a finely cut sweep second hand. In the center is a shaped aperture with the 29.5 day lunar cycle lettered along the top edge and the moondial disc set behind. It has the moons and stars in gilt-bronze on a blue enameled ground and rotates to indicate the phases of the moon. Below are the three porcelain subsidiary dials with black lettering and steel-cut hands for the alarm set, the day and the date.
The eight-day time and strike movement has an alarm, is wound and set off the backplate, has all the engraved arbor indications in English, still retains its original balance and strikes on a gong. It is signed and numbered near the post with the stamp of Margaine and '4415'.
Carriage clocks with moon phases and calendars are extremely rare and are avidly sought by collectors.
Margaine was considered one of the finest makers of the period and won several awards including a silver medal at the Paris Exhibition of 1889 and gold in 1900.
Ref: For a more complete account of Margaine see Charles Alex's 'Carriage Clocks'.
Height - 5 7/8 in. (w/out handle) SOLD
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c.1795 French Ormolu and White Marble Temple d'Amour Clock, Baillon à Paris.
A rare French Louis XVI white marble and ormolu Temple d'Amour clock by Baillon à Paris. The case with four fluted columns, pine cone finials, acanthus leaf swags, a decorative removable floral top and detailed balustrades. In the center is a white marble column with a trophy scene below and two doves nestled amongst scrolling foliage above. The whole is supported by a white marble base with numerous floral mounts, toupie feet and a white porcelain plaque with the maker's name, 'Baillon A Paris'.
The exposed eight-day time and strike movement is horizontally mounted, wound and set through the top, supported by three posts on a burnished ormolu plate, has finely executed wheelwork, countwheel striking on a bell and has a verge escapement. The pendulum has a Gorgon bob suspended by a steel suspension with the fast slow nut below.
The two rotating annular dials, minutes and hours, have individual white porcelain plaques that are pinned to the circular brass frames. The hour's ring has black Roman numerals while the minute's ring has black Arabic numbers for the five-minute marks.
Temple d'Amour clocks are thought to be inspired by the popular monuments that were found in most 18th century gardens and are a subset of clocks commonly referred to as either Annular or Pendule à Cercles Tournants. Although all have rotating rings, the Temple d'Amour clocks appeal to both those interested in classical ornamentation and those who are horologically minded and appreciate the exposed movement.
Ref: For a copy of the original design drawings of a similar example see Tardy, Vol. II, pg.87.
Jean Baptiste-Albert Baillon is listed in Tardy's as being born in 1727 and working much of the 18th century.
For another annular clock by the maker see: 'La Pendule Francais', pg.287.
Height - 17in. SOLD
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c.1775 French Ormolu Cartel Clock, Stanley à Paris.
A large elaborate ormolu Louis XVI cartel clock by Stanley à Paris. The well cast and finished asymmetrical case has, along with the more traditional c-scrolls, flower sprays, scrolling foliage and engraved frets, numerous sea-themed mounts that included a cherub with a spear in one hand riding a dolphin through the breaking surf above and a large merman with a laurel leaf crown on a rockwork cliff below.
The large one-piece porcelain dial with black lettering has an ormolu cast and molded glazed bezel, large Roman numerals for the hours, Arabic numbers for the five-minute marks, is signed by the maker, 'Stanley A PARIS', and has two well cast and engraved ormolu hands.
The large round time and strike eight-day movement has a large star shaped count wheel, retains its original silk-thread suspension with the fast/slow out the front and is signed on the back plate, 'Stanley A Paris'.
French cartel clocks were extremely popular during both the Louis XV and Louis XVI periods. The sizes ranged from very small time-only symmetrical Boudoir pieces to large imposing asymmetrical examples such as this one.
Ref: Thomas Francois Stanley is listed in Tardy's as working from 1776 when he became a master to 1810.
Height - 30in. SOLD
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c.1825 English Mahogany Quarter-Striking Animated Bracket Clock, Miles, Ludgate St., London.
A rare, large and impressive Regency mahogany quarter-striking animated bracket clock by Septimus Miles, London. The well-figured and nicely faded inlaid mahogany lancet shaped case has ebony trim that includes the delicate moldings, chamfered corners and a readed lower band and is fitted with brass mounts and decorative inlay that include the ball finials and feet, the cornucopia side handles and the gothic style side and arch frets.
The painted white broken arched dial has red spandrels to the corners, black roman numerals for the hours, has the strike/silent lever to the side and is signed by the maker 'Miles, Ludgate Street, London'. Above is a detailed polychrome scene of three kneeling Chinamen below three large bells within a large room set against an oriental background.
At each quarter the two Chinamen to the right swing their large hammers and count off the quarters by striking the two smaller bells while at the hour, following the four quarters, the figure to the left also counts off the hours on the largest bell.
The large eight-day triple fussee movement has an anchor escapement, border engraving on the back plate, a massive pendulum, a pull repeat and is signed on the back plate, 'Miles, Ludgate Street, London'. The figure's arms are controlled by a set of levers and linkages that run from the front end of the movement up to the back of the dial. The pendulum has an engraved lenticular bob with the screwed fast/slow adjustment above.
This clock is unique for several reasons including the size, condition, overall quality and frequency of the animation.
Septimus Miles is listed in 'Britten's' as working at 32 Ludgate St. from 1792-1829.
Height - 23.5in. SOLD
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c.1820 French Burled and Ormolu Table Regulator, Destigny à Rouen.
A very nice quality French portico Amboyna wood table regulator by Destigny à Rouen. The elegant four column case has a finely cut cornice molding, stylized engine turned Doric capitals, an engine-turned bezel and four knurled bun feet.
The slightly convex white porcelain dial has concentric chapters for the seconds, hours and minutes. It has well-cut steel Lepine-style hands, is signed by the maker, 'Destigny à Rouen', in a delicate script in the center, has finely lettered black Roman numerals for the hours, an outer minute chapter with bold marks at the five-minute marks and an inner seconds chapter with bold marks at the second marks and dots at the half-seconds. The minute hand has an elongated tail with circular end and the seconds hand is a pointer also with a circular tail.
The eight-day twin barrel movement has an outside pinwheel escapement, is stamped 'CL, 1815', has nicely done wheelwork, a screwed beat adjustment and strikes on a bell. The heavy 9-rod gridiron pendulum has a knife-edge suspension, two adjustments for fast/slow - one in the center and one located in the bob, and swings within an ormolu register mount with an engraved scale.
The Amboyna veneer, the wonderful execution of the movement components and the quality of the dial would suggest this maker to be of notable skill and most likely with a prominent clientele.
Ref: Pierre Daniel Destigny is listed in Tardy's as moving to Rouen in 1798 where he continued a long career footnoted by several horological inventions.
Height - 18.5in. SOLD
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c.1785 French Porcelain Mounted Ormolu Annular Dial Clock.
A large and important porcelain mounted Louis XVI annular dial clock. The ormolu case has an urn flanked by brackets mounted with lions with rings. It also has a fluted top with a pinecone finial, a stepped case with burnished sides and cast borders and edges and a large well-cast ormolu snake points to the time with his tongue.
The lower time ring has Roman numerals for the hours while the upper ring has Arabic numbers for the five-minute marks and both have individual porcelain plaques pinned to the brass frames.
The case has delightful polychrome porcelain plaques to the four sides. They are all on white grounds with gilt and light blue borders and they are all signed on the back with the double L's indicating Sevres while each has an additional individual letter. The two colorful side panels are stationary and are floral subjects while the front and the rear are set within hinged doors that afford access to the movement and depict genre scenes.
The large twin-barrel movement has four large turned pillars, a verge escapement, a differential off the front-end that redirects the power and rotates the rings, a large countwheel on the backplate, strikes on a bell and still retains the original silk-thread suspension that is regulated off the backcock.
Height - 21 in.SOLD
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c.1845 Japanese Ebony Striking Pillar Clock
A very good quality mid-nineteenth century striking stick clock or 'Shaku-Dokei'. The ebony wood case has a removable glazed hood with a lift-out front door, two fabric-backed gilt-brass pierced and engraved frets to each side, a scale at the front and a drawer for the key at the bottom.
Mounted to the backboard is the gilt-brass going movement with finely cut and spoked gear work, turned brass baluster columns at the corners, a skeletonized front plate that is pierced and engraved with chrysanthemums and a verge escapement with an adjustable brass balance wheel. A separate key wound striking mechanism acts as the weight and drives the one-day time mechanism.
The engraved gilt-bronze time scale is fastened top and bottom by two large turned screws, has engraved silvered 'hour' characters on shaped plates and shaped brass 'half-hour' markers.
The striking mechanism carries the shaped hand that points to the different characters as it descends through the day. The backs of the 'numerals' extend into the case and trip the striking mechanism at the proper intervals. It follows the Japanese sequence of striking two series of nine to four alternating one and two strikes at the 'half-hours'. An acceptable explanation for this method is still unknown although several theories have been proposed.
Height - 18 in. SOLD
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c.1860 Massive Japanese Lantern Clock with Ebony Stand.
An enormous Japanese lantern clock of the Edo period that is enclosed by a glazed hood and sits upon a large solid Ebony stand. The elaborately engraved brass back and sides depict scrolling foliage framing the Tokugawa kamon and are hinged and secured by a steel screw in the back and swing latches at the sides.
The large weight-driven time, strike and alarm movement has a patinated steel frame with steel plates and both steel and brass gear-work. The majority of the wheelwork has three spokes, rounded collets and are steel while the four vein fan, the foliots and the going barrels are brass. Suspended from the shaped steel post above are the two brass foliots and a large bell secured by a shaped finial. Both foliots have finely cut notches to adjust the position of the four brass balance weights, are suspended by silk threads and are automatically alternately engaged with the two steel crown-wheels for night and day as to regulate for the Japanese temporal system. The clock strikes the bell on the hours, 9-4, and the half hours, either 2 or 1, by a torsioned hammer. The weight-driven alarm is activated by an adjustable threaded pin positioned in the center rotating disc of the dial and strikes by clapper until the weight completely descends. The brass encased time, strike and alarm weights are all elaborately engraved with scrolling foliage and the Tokugawa mon to match the case.
The elaborately engraved front plate has scrolling foliage with chrysanthemums and the Tokugawa kamon centered under the dial. It also has two apertures for the sexagenary calendar, a steel cut 8-petal chrysanthemum hand, a moveable center disc and a stationary chapter. The silvered engraved chapter has the temporal 'hours' on the inside and their zodiac symbols to the outside.
The movement sits upon a large elegant ebony stand with a shaped waist, fretted skirt, shaped cabriole style legs and a substantial open base. It is enclosed by a removable hood that is glazed in the front and has geometrical panels to the sides and back.
In pre-1873 Japan the clocks with stationary dials had to adjust for the temporal system so the double foliot escapement was developed. There was one foliot for nighttime and one for daytime and they alternated automatically to engage the crowns and regulate the clock. As the daytime lengthened the daytime foliot was slowed incrementally by manually adjusting the weights outward while simultaneously adjusting the nighttime foliot to run faster. The process was reversed when the daytime 'hours' shortened heading into the wintertime.
The three-petal hollyhock mon was the kamon or crest of the Tokugawa family, the ruling family during the Edo period.
The back of the dial has several inscriptions including 'December 29, 20 y of M'. If the 'M' stands for the Meiji period it is most likely a repair date - December 29, 1888 since the Meiji started in 1868.
It is rare to find Japanese lantern clocks with the stand and even rarer to find them of this size. This is the third largest we have seen with the largest, also from the Tokugawa family, included in the sale of the Time museum.
Height Overall - 72in. SOLD
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